摘要
拉尔夫·埃利森(Ralph Ellison,1914 -1994)是美国二十世纪五十年代以来最重要的黑人文学作家,同时是一个卓有成效的美国文学评论家,还是20世纪美国文化研究的重要开拓者之一。他对美国黑人文学和美国文学作出了里程碑式的贡献,在整个美国非裔文学创作及文学理论的发展演变过程中起到了承前启后的作用。
拉尔夫·埃利森在自己的文学创作、文学评论和文化评论中表现出超前的文化思想,与哈莱姆文艺复兴时期的代表人物艾伦·洛克的文化思想一脉相传,又对托尼·莫里森、伊斯米尔·里德和亨利·路易·盖茨等一大批当代著名黑人作家和批评家产生深远影响。拉尔夫·埃利森以美国现代作家的身份出现在世界文坛,文学界普遍认为,其《无形人》的问世标志着黑人文学脱离现实主义和自然主义文风,迈入了现代文学的殿堂,但值得注意的是,拉尔夫·埃利森对美国非裔文学的里程碑式贡献还远不在此。
本文拟在文化研究的视野下观照拉尔夫·埃利森的文学创作、文学思想和文化思想,探讨其多元性的文化内涵及意义。论文共由六章组成。
第一章将拉尔夫·埃利森文学现象的出现放在美国黑人文学发展的历史链中进行考察。本章主要运用哈罗德·布鲁姆的“影响的焦虑”理论,从讨论理查德·赖特的自然主义抗议小说入手,探讨美国黑人作家詹姆斯·鲍德温向自己文学创作的引路人、当时美国黑人文学代表人物理查德·赖特发起猛烈攻击的原因,意在揭示鲍德温在文学上的“弑父”不仅与他个人生活中的“弑父”情结相关,更深层的动因则在于当时美国黑人文学正经历着由赖特式的“抗议小说”向拉尔夫·埃利森为代表的新型黑人文学转向。鲍德温在描写黑人人性、展示黑人文化、提升黑人文学的艺术水平、探索种族歧视与冲突问题等方面,都提出了超越赖特的抗议文学主张,但他本人的思想观念和创作实践又还存在诸多自相矛盾之处,新型黑人文学直到拉尔夫·埃利森的《无形人》问世才得以正式确立。
第二章重点围绕犹太籍美国左翼文学评论家欧文·豪与拉尔夫·埃利森关于意识形态与艺术美学上的争论展开。在这场论争中,欧文·豪主要抨击的对象詹姆斯·鲍德温基本上保持沉默,而被抨击的次要对象拉尔夫·埃利森却立即做出反应,写下了洋洋洒洒的《这个世界和这个大罐》和《隐含的姓名和复杂的命运》,就黑人文学作家之家谱、尼格鲁作家的职责与尼格鲁文学的发展方向等重大问题阐述了自己的独到见解。拉尔夫·埃利森早期非小说及小说创作中一以贯之的艺术美学观、拉尔夫·埃利森对美国文化问题的剖析,以及对美国黑人文学创作的艺术提升,都是他赢得这场文学之争的关键。同时,美国黑人文学发展的内在规律也是不可忽视的原因。
第三章集中讨论了拉尔夫·埃利森对人性的剖析。在美国,关于黑人是否也和白人一样具有正常人性的争论,从18世纪美国奴隶制时开始,一直延续至今,也直接关涉到美国发生的种种社会冲突和矛盾。在美国历史上,白人往往通过否定黑人人性以达到其高人一等的目的,而黑人知识分子则不遗余力地为黑人的人性辩护。拉尔夫·埃利森通过对梅尔维尔、福克纳和马克·吐温等19世纪美国经典白人作品的解读,赞赏了这些作家在肯定黑人人性时表现出的人道主义精神;同时运用高度象征性和颠覆性的语言,展示了黑人的人性,揭示了白人的非人性;并通过“斯芬克斯之谜”典故的阐释,对普遍意义上的人性作了探讨,体现了作者对所有现代人的生存困境的关注,从而超越了以斯陀夫人的小说为代表的注重道义的宣传的传统文学,以及以理查德·赖特的创作为代表的注重态度强硬的抗议与暴力的表达的自然主义文学,体现出回归与提升19世纪人文主义作家人道主义精神的创作倾向。
第四章专门探讨了布鲁斯音乐在拉尔夫·埃利森文学创作中的运用。布鲁斯音乐与拉尔夫·埃利森的文学创作之间有一种水乳交融的关系。布鲁斯音乐是爵士乐的雏形,作为一种音乐形式,它在美国的起源与发展过程见证了黑人在美国坎坷不平的生活经历。经典的布鲁斯音乐和成功的布鲁斯歌手将这种艺术形式升华为一种在逆境中保持乐观精神的生存方式。拉尔夫·埃利森不仅从布鲁斯音乐旋律中看到这种表现生存方式和展现生命哲学的途径,还从中意识到了黑人音乐的文学潜能。他率先将这种文学潜能成功地转化为一种文学行为,原创性地将布鲁斯音乐运用于文学批评和小说创作中,在美国黑人文学史上获得了空前的成功,也为20世纪美国黑人文学走出自然主义抗议文学的窠臼、走向一种新型文学奠定了基础。本章主要通过对拉尔夫·埃利森评论性文章《理查德·赖特的布鲁斯》和小说《无形人》的分析,论证拉尔夫·埃利森是如何从布鲁斯音乐中获得一种哲学和表现手法上的灵感和启发,如何将其作品人物的个人不幸转化为一种布鲁斯的语言代码,进而揭示拉尔夫·埃利森作品的多种思想内涵及其对美国种族问题的深度思考。
第五章主要探讨拉尔夫·埃利森的文学创作、文学评论和文化评论中的现代主义、后现代主义倾向的渊源。首先比较了理查德·赖特式的自然主义抗议小说与美国19世纪末20世纪初以西奥多·德莱塞为代表的美国白人主流文学中的自然主义文学创作之间的内在关联及差异,旨在揭示理查德·赖特的文学创作和文学思想中自然主义、现实主义和现代主义杂糅的特征,力求对理查德·赖特的文学造诣和贡献作出客观公正的评价。然后探讨拉尔夫·埃利森对赖特的超越,阐述拉尔夫·埃利森文学创作之“绕道而行”,从而凸现出拉尔夫·埃利森文学创作、文学评论和文化评论的现代主义和后现代主义特征。第六章主要通过文本分析,展示拉尔夫·埃利森文学创作、文学评论和文化评论中现代主义和后现代主义特征的具体表现。笔者运用德里达的“白色的神话”和罗兰·巴特的“解神化”理论,探讨拉尔夫·埃利森对西方神话仪式中黑白对立的解构,揭示拉尔夫·埃利森文化思想和文学叙述手法的独创性与超前性。拉尔夫·埃利森《无形人》的中心隐喻“无形性”,是作者对美国黑人文化及其价值观长期思考的结果,这一隐喻标志着美国黑人文学创作由注重意识形态的抗议小说,朝注重艺术美学的现代小说转向。这一转向着重表现在作者对欧洲黑白二元对立神话和美国南方社会仪式的解构,以及作者创作中祖先在场的文学叙述手法的运用。拉尔夫·埃利森对神话和仪式的重新发现和阐释,是作者的文化思想在文学创作中的集中体现之一,也是对20世纪30年代盛行的从社会学的角度研究黑人问题的有力反拨;而祖先在场的文学叙述手法则有助于美国种族主义者重新审视自己的身份和美国文化,有助于破解“无形性”被曲解的含义和真正内涵。
Ralph Ellison(1914 -1994), the most important American black writer since 1950s, is also an outstanding literary critic, and one of the most significant pioneers of American cultural studies. He made a milestone contribution both to African American literature and American literature, and acted in full sense as a successor and a forerunner in the history of African American literary theory and practice.
He showed in his literary works a foreseeing cultural vision, obviously inheriting from Alain Lock, a key figure in the Harlem Renaissance, continuing to exert a profound and far-reaching impact on such famous African American writers and critics as Toni Morrison, Ishmael Reed, and Henry Louis Gates. He captured the wide attention of world literature as a modern writer by deviating from Richard Wright’s naturalistic protest and social realistic fiction and was lionized for his Invisible Man, while it should be further noted that Ellison’s milestone contribution to African American literature is far more than that.
This dissertation tries to examine Ellison’s literary works in the context of cultural studies, taking the success and failure of Richard Wright’s naturalistic protest novel as a point of departure, and going ahead with a discussion of James Baldwin’s literary patricide and his moralistic flaw, towards a comprehensive engagement of Ralph Ellison literary works and cultural studies. The dissertation consists of five chapters:
In the first chapter, the author seeks to place Ralph Ellison in the historical chains of African American literary development, and to examine why Wright’s protégé, James Baldwin, an American black ephebe, advanced an unrelenting criticism of naturalism of Richard Wright, the precursor in African American literary circle. Baldwin’s action, which might be interpreted as the literary patricide described in Harold Bloom’s The Anxiety of Influence, was rather triggered by the upcoming turn of African-American writing from protest school to modernism triumphantly achieved by Ralph Ellison, than motivated by the patricide complex in his life experience. Though Baldwin took the initiative in depicting black humanity, advocating black culture, uplifting black literature and exploring racial discrimination and conflict, trying to transcend Richard’s protest writing, his writing principles revealed certain inconsistencies and dilemma. Baldwin’s personal and literary patricides brought about internecine both to Wright and himself, while as an indispensable tache in the African- American literature progress, its positive significance must never be overlooked, but it is Ralph Ellison’s Invisbile Man which brought about a new direction to the development of African American literature.
Chapter Two dwells on the literary dispute between Irving Howe and Ralph Ellison on ideology and artistic aesthetics. Irving Howe’s essay“Black Boys and Native Sons”takes James Baldwin as the main target, who just kept silent, while Ralph Ellison as the secondary target, who gave prompt responses with his marvelous and masterful essays“The World and the Jug,”and“Hidden Name and Complex Fate,”elaborating with refreshing insight on such crucial issues as the field of influence for a black writer, the social and art obligation of a black writer, and the new directions in black literary writing. The author tries to justify Ellison’s view by a detailed analysis of Ralph Ellison’s early short fiction, and to demonstrate the significance of Ralph Ellison’s literary patricide to the new development trend in African American literature, which also illustrates why Ellison turns out to be the winner, and Irving Howe, the loser of this literary debate. The internal law for the development of African American literature is also a factor not to be ignored.
The third chapter centers on Ralph Ellison’s anatomy of humanity. The debate whether the black man possesses human nature or not started from the slavery time in the 18th century in America till the present time. The white man’s dehumanization of the black man to get a sense of superiority gives rise to various social conflicts and uprisings. The black intellectuals have been consistently battling for their humanity ever since. Ralph Ellison nimbly defends the blacks’humanity with his outstanding cultural vision, and his witty use of metaphors in language. He outdid the traditional literature focusing on moralistic propaganda by Mrs. Stowe, and the naturalistic protest fiction centering on hard-boiled remonstration and violence by Richard Wright, firstly by speaking highly of the 19th century classic works by such white writers as Melville, Faulkner and Mark Twain, who showed humanistic spirit affirming the blacks’humanity, and secondly by making use of the highly symbolic and subversive language both to represent negro’s humanity and whites’inhumanity, and more importantly by probing into the universal human nature by alluding to the Riddle of the Sphinx, which demonstrates, in a broad sense, the author’s humanistic concern for the living dilemma of the contemporary people and also his advocatory tendency to revive the humanistic spirit of some 19th century writers.
The primary focus of the fourth chapter is the use of blues in Ralph Ellison fiction. Blues is the primitive form of jazz, and it witnesses the jagged grain of the blacks’experience in the United States, and so it is spiritually interwoven with Ralph Ellison’s literary writing. People in adversity may transform the transcendental ambience which classic blues songs and blues singers deliver into the fabric of their optimistic existence. Ralph Ellison is the first to realize the literary potential of blues and theorized its expressiveness and life philosophy with eloquent and indelible concision, and to transform it into an act of literature with such originality that he made a tremendous success in the history of African American literature. Ellison’s achievement lies in his bringing a shift from naturalistic tendency of protest literary writing to a new modernist style, focusing on American culture. This chapter contains a probing discussion of how Ralph Ellison derived his philosophical and expressionistic inspiration from the blues and how Ellison juxtaposes individual disaster with blues code, so as to reveal Ellison’s multiple modes of profound thinking and speaking concerning racial problems.
Chapter Five is devoted first to an elaboration of the relevance and difference of Richard Wright’s naturalistic protest fiction from the American mainstream naturalistic writing represented by Theodore Dreiser, with an objective analysis of Richard Wight’s literary talents and literary contribution to African American literature; and then, the writer moves on to discuss Ralph Ellison’s transcendence of Richard Wright by his stepping around and by traces of modernism and post-modernism in his literary writing, literary criticism and cultural review.
In the last chapter, traits of post-modernism and cultural studies in Ralph Ellison’s texts are discussed at length with the help of Jacques Derrida’s“White Myth”and Roland Barthes’“Demystification”in order to touch upon two core ideas:One is Ralph Ellison’s anatomy of black/ white binary opposition in Western myth and rites, and the other is ancestral presence in Ellison’s writing, so as to bring to light his literary originality and foreknowledge. Invisibility, as a central metaphor in Invisible Man, is a stimulation Ellison got from his deep brooding of Negro culture and its value, and also marks a shift from Richard Wright’s naturalistic protest fiction to modern aesthetic novels and to post-modern novels with subversive features. The new direction is signified by Ellison’s deconstruction of binary opposition in Europe and social rituals in Deep South of America. Ralph Ellison’s continuing belief in American amalgamation when“ethnic integrity”overshadowed the“melting pot”as a cultural touchstone, and his rediscovery and reinterpretation of myth and ritual significantly represent his cultural vision in his literary writing, and also a persuasive rectification from the prevailing writing in sociological perspective, while ancestral presence in his writing conduces to the American racists’reexamining American identity and American culture, which helps to decode the genuine significance of the twisted meaning of“invisibility”.
引文
1 George Brown Tindall, America: A Narrative History. New York: W.W. Norton & Company, 1988. pp. A52-A53.
2 转引自:Bernard W. Bell, The Contemporary African American Novel. Amherst and Boston: University of Massachusetts Press.2004.p.i.
1 Richard H. King, “The Uncreated Conscience of My Race / The Uncreated Features of His Face: The Strange Career of Ralph Ellison,”. Journal of American Studies,34 (2000) , Cambridge University Press. p.305.
2 Judy Lightfoot, “Ellison's Second Act, Visible at last,”. Seatle Weekly. 2000-5-28.
3 王恩铭.《前言》.美国黑人领袖及其政治思想研究[M].上海:上海外语教学出版社,2006 年.
4 “美国黑人文学”有几种表达:Black American Literature,Negro American Literature 和African American or Afro-American Literature。笔者仔细比较研究发现,这几种表达其实代表不同文学作家和文学批评家细微而不同的思想导向,并且已经持不同思想导向者的约定俗成的表达。Black American 是强调黑人皮肤的黑人知识分子喜欢采用的表达,特别是黑人思想激进分子,他们一般不会采用“Negro American”或 “African American”。强调美国文化的黑人知识分子,比如拉尔夫·埃利森和艾伯特·默利一般倾向用“Negro American”(尼格鲁美国人)。非裔美国人“African American or Afro-American” 这个指称则常用来区别美国黑人与来自其他国家的美国人。比如,华裔美国人是“Chinese American”, 日裔美国人“ Japanese American”等等。尽管三者之间的界限也并非十分明显,相比之下,Black American Literature 使用的最为广泛,Negro American 相对使用频率最少。在本论文中,笔者根据不同的语境和不同的作家采用相关性最强的词。
1 Ralph Ellison, “What America Would Be Like Without Blacks,”.1970. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. p.580.
1 Harold Bloom, The Anxiety of Influence . London: Oxford University Press.1973. p.30.
2 Harold Bloom, The Anxiety of Influence. London: Oxford University Press.1973. p.40.
3 据理查德·赖特在自传《黑小子》中记载,1924 年,他在当地的一家报纸上发表处女作"The Voodoo of Hell's Half Acre,"。
1 Webb, Constance. Richard Wright: A Biography. New York: G.P.Putnam’s Son.,1968. 145.
2 Richards Wright, “Blueprint for Negro Writing,”. 1937 年秋首次发表于《新挑战》,重版于Gates, Henry Louis, Jr. and Nellie Y. Mckay, eds. The Norton Anthology of African American Literature. New York: W.W. Norton, 1997. p.1385.
3 Richard Wright, “Blueprint for Negro Writing,”.1937. Gates, Henry Louis, Jr. and Nellie Y. Mckay, eds. The Norton Anthology of African American Literature. New York: W.W. Norton,1997. p.1396.
1 Richard Wright, “I tried to be a Communist,” The Atlantic Monthly, Vol. 174, No. 2 August.1944.
1 Bernard W. Bell, The Afro-American Novel and Its Tradition. Amherst: The University of Massachusetts Press,1987. p.161.
2 转引自:施咸荣. 理查德· 赖特[A]. 吴富恒 王誉公主编 美国作家论[C]. 山东: 山东教育出版社, 1999 年. 第 715 页.
3 Bernard W. Bell, The Afro-American Novel and Its Tradition. Amherst: The University of Massachusetts Press,1987.p.185.
1 转引自:Robert J. Butler, “Conversations with Richard Wright”. African American Review, Vol 29, Issue 1 ( Spring, 1995), p.132
2 转引自:Robert J. Butler, “Conversations with Richard Wright”. African American Review, Vol 29, Issue 1 ( Spring, 1995), p.134.
3 Webb Constance, Richard Wright: A Biography. New York:G.P.Putnam’s Son. 1968. p.145.
1 Webb Constance, Richard Wright: A Biography. New York:G.P.Putnam’s Son. 1968. p.147.
2 “联邦作家工程”(Federal Writer's Project.)是实际上是《新政》的一部分,负责为失业的 作家、编辑和从事研究人提供就业机会。
3 由于《新挑战》不久倒闭,正在校样中的《海米与警察》没能发表,直到 1996 年才被收入拉尔夫·埃利森的短篇小说集《飞家和其它故事》中。
4 Robert G. O’Meally, The craft of Ralph Ellison. Massachusetts: Harvard University Press. 1980. p.33.
1 Mark Busby, Ralph Ellison. Boston: Twayne Publishers,1991. p.13.
2 Mark Busby, Ralph Ellison. Boston: Twayne Publishers,1991. p. 14.
1 James Baldwin, “Everybody’s Protest Novel,”. in Barksdale, Richard and Kinnamon, Keneth. eds. Black Writers of America. New York: The Macmillan Company, 1972. p.726.
2 James Baldwin, “Everybody’s Protest Novel,”. in Barksdale, Richard and Kinnamon, Kenneth. eds. Black Writers of America. New York: The Macmillan Company,1972.p.727
1 James Baldwin, “Many Thousands Gone,”. 1950. Gates, Henry Louis Jr, and Mckay,Nellie Y, eds. The Norton Anthology of African American Literature. New York: W.W. Norton Company, 1997. p.1662.
2 Geraldine Murphy, “Subversive anti-stalinism: Race and Sexuality in the Early Essays of James Baldwin,”. English Literary History, 63.4 (1996) p.1044.
3 James Baldwin, “Alas, Poor Richard,”. 1961. in James Baldwin: Collected Essays. New York: The Library of America,1998.p.253.
4 Jerry Gafio Watts, Heroism and Black Intellectuals:Ralph Ellison, Politics, and African American Intellectual Life. North Carolina:The University of North Carolina Press. 1994. p.68.
1 Lawrence P. Jackson, Ralph Ellison: The Emergency of Genius. New York: John Wiley and Sons, 2002. p.352.
2 Jerry Gafio Watts, Heroism and Black Intellectuals:Ralph Ellison, Politics, and African American Intellectual Life. North Carolina: The University of North Carolina Press. 1994.p.40.
3 转引自:Lawrence P. Jackson, “The Birth of the Critic: The Literary Friendship of Ralph Ellison and Richard Wright,” American Literature, 72/2 (2000). p.340.
4 Lawrence P. Jackson, “The Birth of the Critic: The Literary Friendship of Ralph Ellison and Richard Wright,” American Literature, 72/2 (2000). p.341.
1 赖特死得如此突然,以至曾经一度人们对他的死因产生了种种猜测,有人甚至认为是谋杀, 因为他身前并没有心脏病史记录。1943 年,美国情报局针对赖特的论文《一千两百万黑人的声音》是否有煽动性起诉过赖特。他在申请护照遇非难,其原因是他曾经和共产党有过联系。他在法国的活动也受到美国政府的监视。1953 年,约翰·麦卡锡(Joseph McCarthy)还专门派人对他进行过调查,因此赖特也总是担心自己遭到暗杀。赖特发病后被送到医院后心脏很快停止了跳动,去世后也没有人通知他的家属,更有甚之的是,医院没有经得其亲属的同意就立即火化了他的尸首,连验尸都不可能了。
2 根据托尼·莫里森的解读,“romance”是指“美国对欧洲文化影子的一种探索和焦虑,美国因此会产生多种有时安全、有时危险的、具体的、在人性上可以理解的恐惧:被抛弃的恐惧、失败的恐惧、无能为力的恐惧、对失去国界线的恐惧、对大自然随时可能产生的肆虐的恐惧、对所谓的文学的缺席的恐惧、对孤独和内外交加的侵略的恐惧。详见 Toni Morrison, Playing in the dark : whiteness and the literary imagination. Massachusetts: Harvard University Press, 1992. pp. 36-37.
3 拉尔夫·埃利森年仅三岁时,深爱着他的慈父不幸去世,埃利森一生都在幻想自己的亲生 父亲会回到自己身边。
1 Irving Howe, “Richard Wright: A Word of Farewell,”.1961. Robert J Butler, ed. The Critical Response to Richard Wright. Westport, CT: Greenwood Press, 1995. p.137.
2 欧文·豪 1954 年创办的《异议》(Dissent)主张推进民主社会主义,抨击美国新左派的专制倾向、极权主义思想和资本主义的弊端,是一本很有影响力的左翼杂志。该刊物发表有关政治活动的文章,其撰稿人都热衷于政治活动,而不愿意参加任何社会运动。在他们的眼力,政治是一种文学创作的策略,是一种唤醒和启发民众的思想手段。五、六十年代美国民权运动日益高涨、现代主义在美国日渐老朽时,美国各种刊物和杂志上到处充斥着欧文·豪的文章,他的文章既有批评意识又有政治良知。
3 Irving Howe, “Black Boys and Native Sons,”. Dissent, Autumn. 1963, p.353.
4 Irving Howe, “Black Boys and Native Sons,”. Dissent, Autumn. 1963, p.354.
5 转引自:Donald B.Gibson, “Richard Wright,”. William L. Andrews, ed. African American Literature. Oxford University Press 1997, p.795.
1 William L.Andrews, ed. African American Literature. London: Oxford University Press,1997. p.367.
2 转引自: Irving Howe, “Black Boys and Native Sons. Dissent, Autumn 1963, p.358.
3 Irving Howe, “Richard Wright: A Word of Farewell,” Butler, Robert J, ed. The Critical Response to Richard Wright. Westport, CT: Greenwood Press, 1995, pp. 137-142.
1 James Baldwin, Early Novels and Stories. New York: Literary Classics of the United States, Inc., 1961, 1998, pp. 248-249.
2 转引自:施咸荣. 美国黑人的三次文艺复兴[J].《美国研究》1988 年第四期. 第 78 页.
1 James Baldwin, “Alas, Poor Richard Wright,”1961. in James Baldwin:Collected Essays. New York: The Library of America,1998. p.257.
1 James Baldwin, “Alas, Poor Richard,”.1961. in James Baldwin: Collected Essays. New York: The Library of America,1998.pp.248-249.
1 James Baldwin, The Fire Next Time. New York: Dell, 1963, 1988, p.5.
2 转引自: 李习俭. 詹姆斯·鲍德温. 吴富恒 王誉公 编 美国作家论. 山东:山东教育出版社1999 年.第 835 页.
3 James Baldwin, Going to Meet the Man. New York : Dell, 1988, c1965, p.200.
1 Irving Howe, “Black Boys and Native Sons. Dissent, Autumn 1963, p.354.
2 Carolyn Wedin Sylvander, James Baldwin. New York: Ungar Publishing. Co,. 1980. p.122.
1 Irving Howe, “Black Boys and Native Sons. Dissent, Autumn, 1963, pp. 353-368.p.358.
2 Michel Fabre, The Unfinished Quest of Richard Wright. Translated from the French by Isabel Barzun. Urbana and Chicago: University of Illinois Press, 1973 c. 1997, p.xxii.
3 Jerry Gafio Watts, Heroism and Black Intellectuals:Ralph Ellison, Politics, and African American Intellectual Life. North Carolina:The University of North Carolina Press. 1994, p.68.
4 Eldridger Cleaver, Soul on Ice. New York: Dell Publishing Co., Inc. 1968, p.107.
1 Carolyn Wedin Sylvander, James Baldwin. New York: Ungar Publishing. Co., 1980.p.178.
2 转引自: Harold Bloom, The Anxiety of Influence. London: Oxford University Press.1973, p.79.
3 Irving Howe, “Black Boys and Native Sons. Dissent, Autumn 1963, p.362.
4 转引自: Harold Bloom, The Anxiety of Influence. London: Oxford University Press.1973. p.6.
1 转引自: Harold Bloom, The Anxiety of Influence. London: Oxford University Press.1973. p.14.
1 Bernard W. Bell, The Afro-American Novel and Its Tradition. Amherst: The University of Massachusetts Press, 1987, p.215.
2 埃利森对赖特公开批评见 Ralph Ellison, “Remembering Richard Wright,” 1971. in The Collected Essays of Ralph Ellison. New York: Random House,1995, pp. 659-675.
3 Robert G,O’ Meally, The craft of Ralph Ellison. Massachusetts: Harvard University Press. 1980. pp. 44-45.
4 转引自:Lawrence P. Jackson, “The Literary Friendship of Ralph Ellison and Richard Wright,”. American Literature 72.2 (2000) pp.321-355.
5 Robert Penn Warren, Who Speaks for the Negro? . New York: Random House, 1965, p.289.
6 Ralph Ellison, “ The World and the Jug,”. 1964. in The Collected Essays of Ralph Ellison. New York: Random House,1995, pp. 155-188. “大罐”这个比喻出自黑人的讲道坛,黑人牧师经常说:“上帝把世界放在一个大罐里,手中掌握着这个罐的塞子!”
1 威廉·阿塔韦(William Attaway 1912—now)是赖特抗议派的一员大将,他的代表作《热血铸就》(Blood on the Forge)描写了南方黑人到北方后的迷漫和悲惨的生活。埃利森曾撰文批评阿塔韦没能使其作品脱离一系列没有意义的灾难和绝望,认为阿塔韦和切斯特·海姆斯(Chester Himes)都是多愁善感的以社会现实为主题的黑人作家,还指责他们将自己的作品局限在描写黑人在争取自由的道路上的不可逾越的障碍,不但忽略了历史,也过于悲观。
2 Robert G. O’ Meally, The craft of Ralph Ellison. Massachusetts: Harvard University Press. 1980. p. 32.
3 Ralph Ellison, Flying Home and Other Stories. edited and with an Introduction by John F. Callahan.New York: Random House,1996. 以下 FH 皆出自此。
4 《胎记》没有被收入拉尔夫·埃利森的遗作《飞家及其他故事》中。
5 Lawrence Jackson, Ralph Ellison: The Emergency of Genius. New York: John Wiley and Sons, 2002, p.36 .
6 John F Callahan, “Introduction,”. in Ralph Ellison, Flying Home and Other Stories. edited and with an Introduction by John F. Callahan.New York: Random House,1996, p. xxi.
1 路易·阿姆斯特朗演奏的爵士乐歌词“我造了什么孽,让我如此黝黑如此忧郁?” (What did I do, so be so black and blue?)black and blue 在这里是个双关语,既可理解以指“遍体鳞伤”,也可理解为“如此黝黑,如此忧郁”。歌词反映的是一种普遍的社会现象:黑人与忧郁(蓝颜色)联系在一起。因此,这个涉世不深的白人男孩有些好奇:既然黑色总与忧郁联系在一起,那么现在这个白人也被电击中,烧成了黑色,她是否也会有忧郁的表情?
2 Carla Cappetti, “Black Orpheus: Richard Wright's The Man Who Lived Underground," MELUS, Winter, 2001, pp.1-10.
3 Ralph Ellison, “ The World and the Jug,” 1964. in The Collected Essays of Ralph Ellison. New York: Random House,1995.p.164.
1 Ralph Ellison,“Hidden Name and Complex Fate,” 1964. in The Collected Essays of Ralph Ellison. New York: Random House,1995. pp.189-209.
2 John F Callahan, “American Culture Is of a Whole”: From the Letters of Ralph Ellison,”. New Republic, 220:9 ( March 1,1999): p.40.
1 Constance Webb, Richard Wright: A Biography. New York: G.P.Putnam’s Son.,1968, p.188.
2《明亮的晨星》(“Bright and Morning Star,”)1938 年发表于《新大众》,1940 年收入赖特再版的短篇小说集《汤姆叔叔的孩子们》(Uncle Tom's Children),该小说的主题是共产党如何组织被压迫的人为争取自己的权利而斗争。
3 厄尔·白劳德(Earl Browder,1891—1973)曾经是美国共产党和国际共运的著名领导人,他担任美共主要领导职务长达 15 年之久(1930—1945)。
1 Ralph Ellison, “Remembering Richard Wright,”.1971. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.p.663.
2 Robert G.O’ Meally, The craft of Ralph Ellison. Massachusetts: Harvard University Press. 1980. pp.44-45.
3 Ralph Ellison, “Brave Words for a Startling Occasion,” 1955. in The Collected Essays of Ralph Ellison. New York: Random House, 1995.pp.152-153.
1 Robert J. Butler, “Conversations with Richard Wright” African American Review, Vol 29, Issue 1 ( Spring, 1995),pp.131-134.
2 John F. Callahan, “American Culture Is of a Whole”: From the Letters of Ralph Ellison,”. New Republic, 220:9 ( March 1,1999). p.40.
3 Robert B. Stepto and Michael S.Harper, “Study and Experience: An Interview With Ralph Ellison,”[A]. in Robert J Butler, ed. The Critical Response to Ralph Ellison. Connecticut & London: Greenwood Press. 2000, p.3.
1 Ralph Ellison,“ The World and the Jug,”. 1964. in The Collected Essays of Ralph Ellison. New York: Random House,1995. pp. 155-188.
2 Ralph Ellison, “American Culture Is of a Whole”: From the Letters of Ralph Ellison,” John F. Callahan, ed. New Republic 220:9 ( March 1,1999): p.39.
3 Ralph Ellison, “The Art of Fiction: an Interview,”. 1955. in The Collected Essays of Ralph Ellison. New York: Random House, 1995. p.210.
1 袁可嘉. 欧美现代派文学概论[M]. 广西:广西师范大学出版社,2003 年. 第 62 页.
1 转引自:伯纳德·W·贝尔著, 刘捷等译. 非裔美国小说及传统. 四川:四川人民出版社,2000 年. 第 19 页.
2 Ralph Ellison, “An American Dilemma: A Review ,” 1944. in The Collected Essays of Ralph Ellison. New York: Random House,1995. pp.304-305.
3 转引自:Ralph Ellison, “An American Dilemma: A Review ,” 1944. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p307.
1 Ralph Ellison, “An American Dilemma: A Review ,”. 1944. in The Collected Essays of Ralph Ellison. New York: Random House,1995, p316.
2 前任主编赫恩登(Angelo Herndon)是一个激进的左翼分子,他当时因参加工会活动在南方被捕,埃利森走马上任后做的第一件事就是扭转其左翼思想导向。
1 Irving Howe, “Black Boys and Native Sons,”. Dissent, Autumn 1963, p.364.
1 Ralph Ellison, “ The World and the Jug,”. 1963. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.183.
2 Ralph Ellison, Invisible Man. New York: Vintage International 1952,1980.c. 以下 IM 皆出 自此。
3 Jesse Wolfe, “Ambivalence Man: Ellison’s Rejection of Communism,”. African American Review, Winter 2000 v34 issue 4. p. 621. 拉尔夫·埃利森在他的非小说创作中从没有谈及过他是否读过黑格尔的哲学著作,故杰西·伍尔夫在文中并没有提到黑格尔抽象哲学是否对埃利森产生过影响,也没有对这段内在化的血腥描写做过多的阐释。但从 2002 年出版的第一部拉尔夫·埃利森评传——《拉尔夫·埃利森:天才的出现》中,作者劳伦斯·杰克逊在 229 页清楚地记载了一段埃利森为理查德·赖特《黑小子》的主人公别格辩护的情节,他说别格这个形象既有黑格尔式的精神和无意识概念,也带有马克思的辨证唯物主义思想。劳伦斯·杰克逊还特意提到,拉尔夫·埃利森当时在问理查德·赖特是否有黑格尔的《精神现象学》。
4 黑格尔在《小逻辑》中提到“人的本性的演变进一步构成了审美心理的内在化……”他的 “内在化”审美特征对现代主义作家产生了很大影响。现代主义内在化特征的具体体现是,语言表达在抽象性与具体性之间、语言的隐喻意义和语言的表面意义之间形成了一种张力,这种张力使读者对文本的理解可以渗透到人物内心的无意识世界。
1 Irving Howe, “Black Boys and Native Sons,”Dissent, Autumn 1963, p.360.
2 Ralph Ellison, “American Culture Is of a Whole”: From the Letters of Ralph Ellison,”. Callahan, John F, ed. New Republic 220:9 ( March 1,1999): p.38.
3 Ralph Ellison, “ The World and the Jug,” 1963. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.159.
4 Ralph Ellison, “ The World and the Jug,”. 1963. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.159.
1 Ralph Ellison, “The Art of Fiction: an Interview,”. 1955, in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.p.211.
2 Houston A. Jr Baker, “Failed Prophet and Falling Stock: Why Ralph Ellison Was Never Avant-Garde,”. Stanford Humanities Review, Volume 7.1. 1999.p.9.
3 Ralph Ellison, “ Hidden Name and Complex Fate,”. 1963, in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.189.
1 Robert L Jr Harris, “The Coming of Age: the Transformation of Afro-American Historiography,” The Journal of Negro History, Vol.67, No.2. (Summer,1982), p.107.
1 Ralph Ellison,“ The World and the Jug,”. 1963, in The Collected Essays of Ralph Ellison. New York: Random House, 1995. pp.155-188.p.159.
2 William Cain and Irving Howe, “An Interview with Irving Howe,” American Literary History, Autumn, 1998, p.562.
1 W.E.B Du Bois, "The Criteria of Negro Art,". Gates Jr., Henry Louis. ed. The Norton Anthology of African American Literature. New York and London: W.W. Norton & Company. 1997. p.752
1 Alain, Locke, “ The New Negro,”1925. Lane, Jack and O’Sullivan, Maurice, eds. The Twenty-Century Reader, 1900-1945.1999. pp.218-225.
2 Irving Howe, “Black Boys and Native Sons,” Dissent, Autumn 1963, p.354.
1 Richard H. King, “The Uncreated Conscience of My Race / The Uncreated Features of His Face: The Strange Career of Ralph Ellison” Journal of American Studies,34 (2000) pp. 303-310 Cambridge University Press. p.305.
1 袁可嘉 欧美现代派文学概论[M]. 广西:广西师范大学出版社,2003. 第 35 页.
1 Michel Fabre, The World of Richard Wright. Mississippi:University of Press of Mississippi, 1985, p.15.
1 转引自:Kenenth Kinnamon, ed. New Essays on Native Son. New York: Cambridge University Press, 1990, p 126.
2 Irving Howe, “Black Boys and Native Sons,”Dissent, Autumn. 1963, p.356.
1 Richard Wright, Native Son. With an introduction by the author (1940) and a new introduction by Caryl Phillips. Vintage,2000.p.279.
2 Thomas Jr. Dixon, 1864-1946, 内战结束前一年出生于北卡罗莱纳州乡村,毕业于霍普金斯大学。狄克逊当过律师、牧师、演员,但他主要是一个小说家和戏剧家。他一共创作了22 部小说。其中包括《重建三部曲:豹斑、族人和叛徒》等等。狄克逊主张三种相互联系的信仰:种族净化的必要、保持以妻子和母亲为中心的传统的家庭圣洁和社会邪恶。狄克逊视种族冲突为一场伟大的战斗,他认为文明的未来将受到威胁。重建结束后,尽管他谴责奴隶制和三 K 党的活动,但他认为,黑人不应该有政治上的平等,因为政治上的平等就意味着社会平等,就意味着白人可以与黑人的通婚,这样,神圣的家庭和文明的社会都将遭到毁灭。他的最后一部小说《燃烧的剑》(The Flaming Sword,1939)完成于他脑溢血中风前,这部小说将社会主义的威胁与种族平等结合起来,将美国黑人描写成受了共产党的愚弄和利用,想推翻美国政府的人。他的所有创作都贯穿了一种强烈维护保守宗教思想的价值观。
3 Bernard W. Bell, The Afro-American Novel and Its Tradition. Amherst: The University of Massachusetts Press,1987, p.159.
4 Richard Wright, Native Son. With an introduction by the author (1940) and a new introduction by Caryl Phillips. Vintage, 2000, p.258.
5 Richard Wright, Native Son. With an introduction by the author (1940) and a new introduction by Caryl Phillips. Vintage,2000.c.p.3-5.
1 Richard Wright, Black Boy. New York: Harper Collins, 1945, 1993. pp. 6-7.笔者译
2 William Cain and Howe Irving, “An Interview with Irving Howe,” American Literary History, Autum,1989, p.559.
1 托马斯·希尔·肖布(Thomas Hill Schaub)在《冷战时期的美国小说》(1991)一书中,恰如其分地用“现代主义内在性”(modernist interiority)来评价拉尔夫·埃利森的小说创作特点。
2 Ralph Ellison, “Society, Morality and the Novel,”1957. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. p.708.
3 Ralph Ellison, “Society, Morality and the Novel,”1957. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.p.709.
1 转引自:Ralph Ellison,“ The World and the Jug,”. 1964. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.166.
2 Ralph Ellison,“ The World and the Jug,” 1964. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.167.
3 Ralph Ellison, Shadow and Act.New York: Vintage International.1964. pp. xxi-xxii.
4《理查德·赖特的布鲁斯》发表后,埃利森再没有为赖特的作品写过书评,尽管他在 1945年以后撰写的论文中多次讨论了美国小说的形式和作用,但他几乎不再提及赖特的《土生子》和赖特以后发表的小说,直到赖特去世后,埃利森 1963 年应答欧文·豪的《黑小子们和土生子们》,重新评估赖特的小说。
1 Greg Oswald. Race and Ethic Relations in Today’s America. England: Ashgate Publishing Limited, 2001.p.4.
1 Mark Twain The Autobiography of Mark Twain. As arranged and edited by Charles Neider Harper & Brothers, Publishers, New York, 1959, p. 70.
2 刘祚昌. 美国内战史[M]. 北京:人民出版社, 1978. 第 22 页.
3 转引自:张聚国 “一部研究美国黑人政治思想历程的力作,”[A]. 中国教育在线,2006-12-25。
4 Frederick Douglass (1817-1895) ,著有《弗雷德里克·道格拉斯,一个美国黑奴的生活自叙》。
1 转引自:Arthur P Davis & Saunders Redding, eds. Negro American Writing from 1760 to the Present. Boston: Houghton Mifflin Company.1971. p.97.
2 转引自:William L Andrews. ed. African American Literature . New York: Oxford University Press, 1997.p.405.
3 转引自:Michael P Spikes, Understanding Contemporary Literature. Carolina:University of South Carolina,2003. p. 45.
1 Richard Barksdale & Kenneth Kinnamon, eds. Black writer of American: A Comprehensive Anthology. New York: The Macmillan Company, 1972.p.49.
2 James Walvin,Black Ivory: Slavery in the British Empire. United Kingdom: Blackwell Publishers; 2Rev Ed edition,2001.p.21.
1 斯陀夫人著, 林玉鹏译. 汤姆叔叔的小屋[M]. 译林出版社,2005 年. 第 1 页.
2 “blackness”这个字越来越频繁而广泛地用于种族矛盾与人种区分。美国哈莱姆文艺复兴时期,黑人知识分子喜欢用这个词来表达一种民族自豪感,以取代当时对黑人的常用称呼“尼格鲁人”(negro),由此获得一种自我和社会认同。在 60 年代的美国民权运动和以后的黑人权力运动中,黑人知识分子都选择用这个字。拉尔夫·埃利森的文本中极少用这个字,他始终称自己是一个“尼格鲁美国人”。我在论文中将这个字翻译为“黑人民族性”,因为我比较赞同塞内加尔黑人学者列奥波德·桑戈尔(Léopold Sédar SENGHOR , 1906-2001)的观点,他认为, blackness 指“黑人文化全部价值观念的总和”(见刘鸿武 "非洲个性"或"黑人性"--20 世纪非洲复兴统一的神话与现实[J]. 《思想战线》,2002 年第四期,第 88-92 页.) 。
1 George BrownTindall, America: A Narrative History. New York: W.W. Norton & Company, 1988. p.1047.
2 Arthur P Davis & Saunders Redding, eds. Negro American Writing from 1760 to the Present. Boston: Houghton Mifflin Company.1971. p.223.
3 Richard Wright, Native Son[M]. 1940. With an introduction by the author (1940) and a new introduction by Caryl Phillips. London: Vintage, 2000.
4 James Baldwin,“Everybody’s Protest Novel,”. 1949. in Barksdale, Richard and Kinnamon, Kenneth. eds. Black Writers of America. New York: The Macmillan Company,1972.p.728.
1 Richard Wright, Native Son. With an introduction by the author (1940) and a new introduction by Caryl Phillips. London: Vintage, 2000. p.311.
2 James Baldwin, “The American Dream and the American Negro,” Jacobus, Lee A, ed. A World of Ideas. Boston: Bedford/ St. Martins,2002. p.629.
3 Ralph Ellison, “Brave Words for a Startling Occasion ,” 1954. in The Collected Essays of Ralph Ellison. New York: Random House,1995. pp.152-153.
1 Ralph Ellison, “Society, Morality and the Novel,”. 1957. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.p.702.
2 王誉公. 美国作家论[M]. 山东:山东教育出版社,1999 年. 第 174 页.
1 转引自 陶洁 “译者序,”[A]. 坟墓的闯入者[M]. 威廉·福克纳著. 陶洁译. 上海:上海译文出版社,1997 第 8 页.
2 Ralph Ellison, “Twentieth-Century Fiction and the Mask of Humanity,”.1953. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.98.
1 Mark Twain, Adventures of Huckleberry Finn. 1885. New York and London: W.W. Norton & Company, 1977.p.178.
2 Ralph Ellison, “Twentieth-Century Fiction and the Mask of Humanity,”.1953. The Collected Essays of Ralph Ellison. New York: Random House,1995. p.88.
3 黑人“游唱传统”是美国 19 世纪末黑人生活的一个重要体现,具体指由黑人组成的游唱团(minstrel troupe),穿着花里胡哨的衣服为观众(主要是白人)表演白人称之为的“黑人诗歌”(darky rhymes)、“浣熊歌曲”(coon songs)和“黑鬼方言”(nigger dialect)。这些语言表达方式都可体现白人对黑人的蔑视和黑人对白人至上的默认。只要黑人遵循这种传统,就肯定能得到白人的认可,甚至是欢迎,因为这些演出表面上只是为了给观众(主要是白人)取乐和愉悦,实际上还体现黑人一种根深蒂固的自卑观念和承认白人高人一等的态度。当时甚至有不少白人也装扮成黑人,加入到游唱团的表演。
4 Ralph Ellison, “Change the Joke and Slip the Yoke”.1958, in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.104.
1 Ralph Ellison, “Twentieth-Century Fiction and the mask of Humanity,” 1946, in The Collected Essays of Ralph Ellison. New York: Random House, 1995.p.82.
2 Ralph Ellison, “A Completion of Personality: A Talk with Ralph Ellison,”.1974. in The Collected Essays of Ralph Ellison. New York: Random House, 1995. p. 786.
3 转引自:Lawrence Jackson, Ralph Ellison: The Emergency of Genius. New York: John Wiley and Sons, 2002. p.326.
1 Ralph Ellison, “Twentieth-Century Fiction and the Mask of Humanity,”.1953. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.97.
2 George Lakoff, Women, Fire, and Dangerous Things. Chicago: The University of Chicago Press, 1987. p.116.
3 Ralph Ellison, “That Same Pain, That Same Pleasure: An Interview,” 1961, in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. p. 68.
1 Ralph Ellison, “ The World and the Jug,” 1964. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.183.
2 详见:Stephen J. Whitfield, A Death in the Delta:The Story of Emmett Till. New York: Macmillan, Inc. 1988.
3 斯坦迪什(Standish )是一个有历史感和讽刺意味的双关语。大写这个英文词的第一个字母是 Standish,这是一个历史人物,Standish(1584-1656)是一个英国军人,1902 年和英国清教徒同乘“五月花”号到达北美。作为一个历史人物,斯坦迪什应该是人们躲避宗教迫害、追求自由的象征,那些追求自由的白人后代却剥夺了另一个民族的自由。小写这个英文词的第一个字母,它的意思则是墨水台,人们一不小心将它碰翻了,便会弄得一身又脏又臭的墨汁。
1 James Baldwin, Going to Meet the Man. New York : Dell, 1988, c1965. pp.199-218.
2 转引自: Carolyn Wedin Sylvander, James Baldwin. New York: Ungar Publishing. Co., 1980. p.122.
3 Ralph Ellison, Flying Home and Other Stories.New York: Random House,1996.pp.63-81.
1 Ralph Ellison, “Twentieth-Century Fiction and the Mask of Humanity,”.1953.in The Collected Essays of Ralph Ellison[M]. New York: Random House,1995. p.97.
2 Ralph Ellison, “Harlem Is Nowhere,”1948. The Collected Essays of Ralph Ellison. New York: Random House, 1995.pp. 785-817. p. 786.
3 转引自:杜丽燕 人性的曙光: 希腊人道主义探源[M]. 北京:华夏出版社, 2005 年. 第 331 页.
4 转引自:Saul Bellow, “Preface,” in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. pp. ix-xii.
1 摩西·罗普(Moses Roper,1816-?)早期黑人作家,著有《摩西·罗普的冒险和逃跑故事》(Adventures and Escape of Moses Roper ,1838)。
1 Richard Wright, Native Son. With an introduction by the author (1940) and a new introduction by Caryl Phillips. Vintage,2000.c.p.311.
2 马尔科姆·X 的遗作《马尔科姆·X 自传》是亚历克斯?黑利(Alex Haley)根据马尔科姆 本人的生活记录整理而成的,该书出版于 1965 年,是美国 2 0 世纪 70 年代左右的最畅 销书之一。这段叙述转引自: Richard Barksdale & Kenneth Kinnamon, eds. Black writer of American: A Comprehensive Anthology. New York: The Macmillan Company, 1972.pp. 874-881.
3 Ralph Ellison, Juneteenth. New York: Random House, 1999. 以下 JT 均出自此。
1 Ralph Ellison & Albert Murry, Trading Twelves: the Selected Letters of Ralph Ellison and Albert Murray. New York: Random House, 2000. p.193.
1 孙秀蕙. 爵士春秋:乐手略传与时代精神[M].广西: 广西师范大学出版社.2004.第 76 页.
2 孙秀蕙. 爵士春秋:乐手略传与时代精神[M]. 广西: 广西师范大学出版社. 2004. 第 78 页.
3 弗兰克·蒂罗 著 麦玲译. 爵士音乐史[M]. 北京:人民音乐出版社,1995 年.第 23 页.
1 转引自:弗兰克·蒂罗 著 麦玲译. 爵士音乐史[M]. 北京:人民音乐出版社,1995.第 13 页. 2 Donald D Megill and Richard S Demory, Introduction to Jazz History. New Jersy:rentice-Hall,Inc. 1996. p.4.
1 艾瑞克·霍布斯鲍姆著 王翔译. 非凡的小人物:反抗、造反及爵士乐[M]. 北京:新华出版 社,2001. 第 438 页.
2 孙秀蕙. 爵士春秋:乐手略传与时代精神[M]. 广西: 广西师范大学出版社.2004. 第23页.
3 Bernard W. Bell, The Afro-American Novel and Its Tradition. Amherst: The University of Massachusetts Press,1987.p.27.
1 Jerry Gafio Watts, Heroism and Black Intellectuals:Ralph Ellison, Politics, and African American Intellectual Life. North Carolina: The University of North Carolina Press. 1994. p.55.
1 Houston A Jr. Baker, “To Move Without Moving: An Analysis of Creativity and Commerce in Ralph Ellison’s Trueblood Episode,”.Robert J Butler, ed. The critical Response to Ralph Ellison. Connecticut & London: Greenwood Press. 2000. p.74.
2 1921年5月3日,19岁黑人青年狄克·罗兰被诬陷试图强奸一名白人电梯操作女工遭逮捕,等待他的是残酷的绞刑。参加过第一次世界大战的那些退役黑人老兵挺身而出保护罗兰,由此产生了黑人和白人之间的武装冲突。几百个白人伙同三 K 党人一道袭击了当地黑人居住区,杀害了 300 多名手无寸铁的黑人,包括儿童、老人和妇女,近七百名黑人身受重伤。一千多处黑人住宅被烧毁,导致当地一半左右的黑人无家可归。
3 Ralph Ellison, “February,”. 1937. in The Collected Essays of Ralph Ellison. New York: Random House, 1995.3
4 Ralph Ellison, “As the Spirit Moves Mahalia,”. 1958. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.p.251.
1 Ralph Ellison, “Richard Wright’s Blues,”.1945. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.p.135.
2 Richard Wright, Black Boy. 1945, New York: Harper Collins, ,1993. p.14.
1 Ralph Ellison, “Remembering Jimmy,”. 1958. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.p. 273.
2 Ralph Ellison, “Richard Wright’s Blues,”[A]. 1945. in The Collected Essays of Ralph Ellison[M]. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.pp128-144. p.144.
3 《身体与灵魂》(Body and Soul)的作曲人是约尼·格林(Johnny Green),在 1939 年的一次演出中,该曲子演奏者柯曼·霍金斯(Coleman Hawkins)在原作曲的基础上增加了许多个人发挥,并用次中低音的萨克斯二重奏的风格演奏该曲子,二重奏的特点是声音如明镜,既能看到自己,也能映衬他者。世人一般认为,是演奏者柯曼霍金斯使《身体与灵魂》成为最经典的传世名曲之一。
4 转引自:Kostellantz, Richard. Politics in the African- American Novel: James Weldon Johnson, W.E.B.Du Bois, Richard Wright, and Ralph Ellison. New York: Greenwood Press,1991. pp107-108.
5 Harold Bloom, A Map of Misreading. London: Oxford University Press.1975. p. 4.
1 《图森先生》和《在异乡》这两个短篇故事分别见: Ralph Ellison, Flying Home and Other Stories[M].New York: Random House,1996.pp22-32, pp137-146.
1 见 Ralph Ellison, Invisible Man. New York: Vintage International 1952,1980.c.pp.8-10. 以下IM 出处相同。
2 布克·托利弗·华盛顿(Booker Taliaferro Washington,1856-1915)是妥协和迁就型黑人知 识分子的代表。
3 在埃利森的笔下,布莱索校长是一个一心想进入白人社会的黑人,他将无形人“我”赶出大学伊甸园,最后还欺骗了“我”。
1 我们从《无形人》第 108 页中的一句话“当我走进小埃默森先生的办公室时,发现他正在读一本书,那本书的名字叫《图腾与禁忌》”得知,拉尔夫·埃利森对弗洛伊德的《图腾与禁忌》显然是有所了解的。
2 Freud, Sigmund. The Origin of Religion: Totem and Taboo.London: Penguin Books,1985. p. 82.
3 Baker, Houston A. Jr. “To Move Without Moving: An Analysis of Creativity and Commerce in Ralph Ellison’s Trueblood Episode,”. in Robert J Butler, ,ed. The critical Response to Ralph Ellison. Connecticut & London: Greenwood Press. 2000. p. 78.
1 转引自: Michael P Spikes, Understanding Contemporary Literature. University of South Carolina, 2003. p. 41.
2 转引自: Richard Barksdale & Kenneth Kinnamon,eds. Black writer of American: A Comprehensive Anthology. New York: The Macmillan Company, 1972.p. 48.
3 Robert Penn Warren, Who Speaks for the Negro?. New York: Random House, 1965. pp.52-53.
1 受爱因斯坦的相对论的影响,萨特认为绝对的道德标准不存在,他提出了道德标准的相对性。
2 转引自:Sandra Gunning, Race, Rape, and Lynching: the Record of American Literature. New York: Oxford University Press, Inc. 1996.p. 27.
3 Ralph Ellison & Albert Murry, Trading Twelves: the Selected Letters of Ralph Ellison and Albert Murray. New York: Random House, 2000. p.8.
1 Sigmund Freud, The Origin of Religion: Totem and Taboo.London: Penguin Books,1985. p.85.
2 特鲁布拉德,英文“Trueblood” 顾名思义就是纯血统黑人,他也是作者在部小说中设计的唯一有家有室的人物。
3 Ralph Ellison, “Society, Morality and the Novel,” 1957. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.p. 697.
1 布罗德纳克斯,英文为“Broadnax (Broad-in-acts)”,原意为“行为夸张,喜欢做大动作造势而并不务实。”此处文本意思是“伪慈善家”。
2 Ralph Ellison, “Change the Joke and Slip the Yoke,” 1958. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.p.109.
3 黑人“游唱传统”是美国 19 世纪末黑人生活的一个重要体现,具体指由黑人组成的游唱团(minstrel troupe),穿着花里胡哨的衣服为观众(主要是白人)表演白人称之为的“黑人诗歌”(darky rhymes)、“浣熊歌曲”(coon songs)和“黑鬼方言”(nigger dialect)。这些语言表达方式都可体现白人对黑人的蔑视和黑人对白人至上的默认。只要黑人遵循这种传统,就肯定能得到白人的认可,甚至是欢迎,因为这些演出表面上只是为了给观众(主要是白人)取乐和愉悦,实际上还体现黑人一种根深蒂固的自卑观念和承认白人高人一等的态度。当时甚至有不少白人也装扮成黑人,加入到游唱团的表演中。
4 Houston A Jr. Baker, “To Move Without Moving: An Analysis of Creativity and Commerce in Ralph Ellison’s Trueblood Episode,”. in Butler, Robert J, ed. The Critical Response to Ralph Ellison. Connecticut & London: Greenwood Press. 2000. p.76.
1 John O.Killens (1916-1987) 基伦斯是 50 年代哈莱姆左翼运动的主要人物之一,是哈莱姆作家协会的创始人。他的代表作是《随后我们听到了雷声》。
2 转引自: Larry Neal, “Ellison’s Zoot Suit,”. 1970. Hersey, John, ed. Ralph Ellison A Collection of Critical Essays. New Jersey: Pretice-Hall, Inc. Englewood Cliffs, 1974.pp. 61-62.
3 转引自:Lawrence Jackson, Ralph Ellison: The Emergency of Genius. New York: John Wiley and Sons, 2002.p.437.
4 Ralph Ellison, “Richard Wright’s Blues,”. 1945. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. p.133.
1 Ralph Ellison, Living With Music: Ralph Ellison’s Jazz Writings. With an Introduction by Robert O’Meally, New York: Random House, 2001. p.xxv.
2 Ralph Ellison & Albert Murry, Trading Twelves: the Selected Letters of Ralph Ellison and Albert Murray. New York: Random House,2000.p.29.
1 Ralph Ellison, “Working Notes for Invisible Man,” in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. p.343.
1 Richard Wright, Native Son. With an introduction by the author (1940) and a new introduction by Caryl Phillips. Vintage,2000. p. 258.
2 Ralph Ellison, “A Very Stern Discipline,”. 1965. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995.pp.726-754.
1 佐特套服(Zoot Suit)是流行于 20 世纪 40 年代的一种上衣,肩宽而长,裤子高腰,裤口狭窄的男子服装,穿佐特套服之人的生活原则是要求形成自己独特的风格。林迪舞(Lindy Hop)又称摇摆舞或吉鲁巴,1920 年产生于哈莱姆。这种融合了非洲和欧洲传统的爵士乐舞蹈到 40 年代席卷全美。
2 Larry Neal, Ellison’s Zoot Suit. 1970. Hersey, John, ed. Ralph Ellison: A Collection of Critical Essays. New Jersey: Pretice-Hall, Inc. Englewood Cliffs, 1974. pp.61-62.
3 Bernard W. Bell, The Afro-American Novel and Its Tradition. Amherst: The University of Massachusetts Press,1987. p.192.
1 Ralph Ellison, “The Art of Fiction: an Interview,”. 1955. in The Collected Essays of Ralph Ellison[M]. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. p.216.
2 转引自:陆扬 德里达·解构之维[M].武汉:华中师范大学出版社,1996 年. 第 3 页.
3 Toni Morrison, Playing in the Dark : Whiteness and theLiterary Imagination. Massachusetts: Harvard University Press, 1992. p.5.
1 亨利·路易·盖兹(Henry Louis Gates)是目前欧洲和美国学术界公认的文化研究权威之一,他的名字总是和雷蒙特·威廉斯(Raymong Williams),克利福德·格尔茨(Clifford Geertz)在一起出现。
2 Henry Louis Jr Gates, The Signifying Monkey: A Theory of Afro-American Literary Criticism. New York and Oxford: Oxford University Press, 1988. p.236.
3 转引自:项晓敏. 零度写作与人的自由——罗兰·巴尔特美学思想研究[M]. 上海:复旦大学出版社,2003 年. 第 75 页.
4 Roland Barthes, “Myth Today,”.Terry Eagleton, Ideology. London and New York: Longman Publishing. 1994. pp. 162-172.
1 转引自:项晓敏. 零度写作与人的自由——罗兰·巴尔特美学思想研究[M]. 上海:复旦大学出版社,2003. 第 91 页.
2 Irving Howe, “A Negro in America,”.1952. Robert J Butler, ed. The Critical Response to Ralph Ellison. Connecticut & London: Greenwood Press. 2000. p.21.
3 Ralph Ellison, “The World and the Jug,”. 1963. in The Collected Essays of Ralph Ellison. New York: Random House,1995. p.156.
1 Irving Howe, “Black Boys and Native Sons. Dissent, Autumn 1963, pp. 353-368. 1952 年, 欧文·豪《无形人》撰写了评论文《一个尼格鲁人在美国》( A Negro in America),1961 年,他为悼念理查德·赖特撰写了《别了,理查德·赖特》(Farewell, Richard Wright) 。《黑小子们和土生子们》的一部分是在这两篇文章的基础上写成的,重点增加了对詹姆斯·鲍德温的抨击。
2 Saul Bellow, “Man Underground,”.1952. Hersey, John, ed. Ralph Ellison: A Collection of Critical Essays. New Jersey: Prentice-Hall, Inc. Englewood Cliffs, 1974. p.27.
3 Bernard W. Bell, The Afro-American Novel and Its Tradition. Amherst: The University of Massachusetts Press, 1987. p.197.
4 Ralph Ellison, “The Art of Fiction: an Interview,”1955. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. p.216.
1 Toni Morrison, “Rootedness: The Ancestor as Foundation,” Mari Evans, ed. Black Women Writer (1950-1980). Garden City: Anchor P,1984, p.339.
2 转引自: George Brown Tindall, America: A Narrative History. New York: W.W. Norton & Company 1988. p.752.
1 转引自:Richard Barksdale, & Kenneth Kinnamon, eds., Black writer of American: A Comprehensive Anthology. The Macmillan Company. 1972. p. 367.
1 美国文学评论家伯纳德·贝尔在他的《非裔美国小说极其传统》一书中也做过类似的推测,详见:Bernard W. Bell,The Afro-American Novel and Its Tradition. Amherst: The University of Massachusetts Press,1987. p. 207. 但贝尔的推测早尤金·福斯特博士的 DNA 鉴定 11 年。
2 尤金·福斯特博士(Dr. Eugene Foster)曾任塔夫兹大学和弗吉尼亚大学病理学教授,现已退休。
1 埃利森的短篇小说见:Ralph Ralph, Flying Home and Other Stories.New York: Random House,1996. pp. 147-173.
2 王恩铭. 美国黑人领袖及其政治思想研究[M]. 上海:上海外语教学出版社,2006 年. 第54 页.
1 指美国费城独立厅的大钟,1776 年 7 月 4 日鸣此钟宣布美国独立,1835 年被损,出现了一道裂痕。
2 Ralph Ellison, “Perspective of Literature,”. 1976. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. pp. 775-778.
1 Ralph Ellison, “Change the Joke and Slip the Yoke”.1958. in The Collected Essays of Ralph Ellison. New York: Random House,1995. pp.100-112. p.109.
2 刘祚昌. 美国内战史[M]. 北京:人民出版社, 1978 年,第 18 页.
3 Ralph Ellison, “The Little Man at Chehaw Station: The American Artist and His Audience,”. 1977.in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. p.504.
1 John F Callahan, “Introduction,”. 1999. Ellison,Ralph. Juneteenth. New York: Random House, 1999. p.i-ii.
2 Norman. Podhoretz, “ What Happened to Ralph Ellison.”. Commentary. Vol.108, 1999. p.1.
1 托马斯·赫根(Thomas Heggen,1918-1949.)创作的剧本《罗伯兹先生》(Mr. Roberts, 1948)于 1949 年获托尼奖,事实上赫根 1949 年就去世了。罗斯·洛克里奇(Ross Lockridge, 1914-1948.)创作了《雷特里乡》(Raintree Country.),洛克里奇也是英年早逝。
2 Harold Bloom, Genius: A Mosaic of One Hundred Exemplary Critical Minds. New York: Warner Books,2002. p. 809.
3 Lawrence P. Jackson, “The Birth of the Critic: The Literary Friendship of Ralph Ellison and Richard Wright,”. American Literature, Vol. 72/2 (2000).pp. 321-355.
1 详情可参见: Kennth W. Warren, “Ralph Ellison and the Problem of Cultural Authority,”. Boundary 2.30:2, Summer, 2003.pp. 157-174.
2 Bernard W. Bell, The Afro-American Novel and Its Tradition. Amherst: The University of Massachusetts Press,1987.p.279.
1 Ralph Ellison, “What America Would Be Like Without Blacks,”.1970. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. pp. 582-583.
2 L.特里·奥吉尔(L.Terry Oggel)编写的《高声疾呼种族问题》(Speaking Out About Race, 2000)中提及马克·吐温曾有计划撰写《美国私刑史》(History of Lynching in America)或《私刑的兴起和发展》(Rise and Progress of Lynching),但未能如愿。
1 埃里克·纽霍尔 著 甘文平 孟庆凯 译 《思想模式和创造力 –论拉尔夫·埃利森为何未完成他的第二部小说》[J]. 《当代外国文学》1997.第 3 期. 第 153-161 页.
2 纽霍尔称这一观点引自 Jerry Gafio Watts, Heroism and Black Intellectuals:Ralph Ellison, Politics, and African American Intellectual Life. North Carolina: The University of North Carolina Press. 1994. p.119. 但笔者并没有从沃茨该页书中找到这样的武断结论。事实上,沃茨在该书“引言”坦率地承认自己原本是赖特的支持者,在他长期的研究探索中,他逐渐转向赞赏埃利森和默利,还在该书中也多次流露他对埃利森的崇敬。
1 Norman Podhoretz, “ What Happened to Ralph Ellison,” Commentary v108, 1999. pp. 310-318.
2 Saul Bellow, “Preface,”. in The Collected Essays of Ralph Ellison. edited and with an Introduction by John F. Callahan, preface by Saul Bellow. New York: Modern Library, 1995. p. ix.
3 当时杜克年仅 37 岁,是美国白人促进会的主席,这个协会办的报纸充满了反对黑人的言论。
1 这段描写见: Ralph Ellison, Juneteenth. New York: Random House,1999. pp.332-338.
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Baker, Houston A. Jr. Blues, ideology, and Afro-American Literature -- A Vernacular Theory. Chicago: The University of Chicago Press, 1984.
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